Surely not every pixie-haired chick out there is hiding steamy Sapphic fantasies inside her carefully pomaded head, and I've met plenty of lesbians with hair that looks straight in more ways than just texture, but any lady with a shaved side, faux-hawk or asymmetrical 'do gets at least a second glance from me.

When I came out in college, I was lucky enough to do so in the company of three highly experienced lesbian roommates, all of whom advised that I reconsider the long, shapeless locks I'd carried over from my high-school days. One of the gang, as odds would have it, owned all six seasons of The L Word on DVD -- 24 discs of the kind of soft-core, girl-on-girl action that only Showtime could get away with -- and we scoured each episode for hair inspiration.

I eventually settled on Shane's cut, the only style on the femme-heavy show that looked queer enough to help me land a date. I printed out a photo and brought it to a hairdresser in Dupont Circle, Washington, D.C.'s original gayborhood, to take my first physical step toward assimilation into the all-welcoming queer community I imagined was waiting for me.

Even though I emerged from the salon looking more like Florence Henderson than a hip L.A. scenester, that day remains one of my most cherished memories of a confusing, thrilling, inelegant time in my life when my sense of self was in flux and all seemed possible -- if only I could figure out just how a "real" lesbian was supposed to look, dress, walk, stand, talk, flirt, and interact in a world that still saw her as a straight woman.

Finding community as a gay person requires a certain amount of proficiency in the codes we use to build affinity and offer discretion to those who need it. In the absence of gay role models, queer youth and residents of towns or countries that stifle gay culture often turn to popular media like television shows for guidance. The lack of queer representation in international media makes those few American examples even more salient: A friend who recently wrote an ethnography of lesbians in Beirut found that The L Word was an important common reference for queer Lebanese women, even in spite of a steep language and culture barrier.

I'm far more comfortable in my identity now, not least because my ill-advised mommy mullet grew into something a shade less frumpy, but also because my years as an avid consumer of all things queer have taught me that there are as many different ways to be a lesbian as there are, well, lesbians.

I realized that, like the characters in most identity-based narratives, the women of The L Word -- my original touchstone for lesbian culture -- were a reductive cross-section of an infinitely diverse population. It might have been queer, but it was still a mainstream television show on a premium cable network that aimed to attract a broad audience.

The L Word's glamorized depiction of an almost entirely femme group of lesbian friends didn't make any pretenses about representing the real world of queer women. It was a heavily fictionalized caricature that glorified West Coast wealth as much as it did particular standards of beauty and drama-laden lesbian behavior -- which certainly made for some entertaining television.

In many ways The Real L Word does the same thing, with one notable distinction: the word "real." The catty insults and drunken fights? "Real." The backstabbing and steamy scenes of adultery? "Real." The hyper-feminine hotties who get all the action? You get the picture. The standard conventions of reality TV -- typecasting, contrived conflict, joyless sexual undertones -- feel malicious when overlaid onto an already marginalized and stereotyped group. With so few examples of queer women in popular culture, The Real L Word has a majority stake in the way "real" lesbians are portrayed to both the straight community and, more importantly, young women looking for a point of entry into the wide, wonderful world of queers, like I was in college.

Whitney Mixter, by far the most well-known Real L Word cast member and, by Showtime's own admission, the "core of the series," spends her off-camera time touring the country's lesbian nightclubs, greeted by a hefty paycheck and a plaid-clad throng of drooling, would-be lovers at each appearance. On the show her shtick is a perennial womanizing streak that leaves a jilted trail of meticulously made-up paramours in her wake.

Mixter's explosive popularity has sparked a new wave of urban queers sporting white-girl dreads -- but will her influence stop there? As a "real" role model for young lesbians, will Mixter, or the hyperbolic playboy character she's been chosen to play, become the new standard for a desirable mate?

The show's third season debuts July 12, and with a cast that includes serial flirt Kiyomi McCloskey, the frontwoman of alt-rock quartet Hunter Valentine, this year's Real L Word antics promise to top -- so to speak -- those of seasons past. I guess it's a mark of successful lesbian assimilation that we've got our own trite, degrading reality show that appeals to the least common denominator of our desire for guilty-pleasure TV. I'm starting to wonder whether poor representation is worse than no representation at all.

Though it's impressive that a mainstream television show centered on queer women has seen such success, the show's distorted depiction of lesbian culture is something to mourn, not celebrate. Young queers deserve positive, nuanced examples of lesbians in mainstream media -- and we owe them more than dubious hair advice.

Barbara Walters complimented Slattery's acting in the tripping scene and coyly asked, “How did you know how to do this?" Slattery was quick to predict where the conversation was going, and replied, “Are you asking me if I have ever done LSD?”

Walters declared, “I wasn't. But you can answer that.” The actor came clean about his own personal history with psychedelics ... sort of. “Nah…I did my share of experimenting when I was a kid, but even if I was told it was LSD, it probably wasn't,” he said.

In a video from AMC, “Mad Men" creator and executive producer Matthew Weiner explained how Sterling's trip was a significant turning point for the character: the trip represented the first time Sterling has been able to experience true empathy.

Slattery also spilled a few "Mad Men" trade secrets. Those cigarettes they're constantly smoking aren't real: they're herbal cigarettes, which they use because it's illegal to smoke inside in Los Angeles, where the show is filmed. Slattery quipped that they smell like a “combination of weed and fertilizer.”

“Mad Men” airs Sundays at 10 p.m. ET on AMC.

TV Replay scours the vast television landscape to find the most interesting, amusing, and, on a good day, amazing moments, and delivers them right to your browser.

With the hot sun comes vacation, and our favorite TV characters aren't immune to the need of a little R&R. When you think of the Hamptons, it's hard not to think of "Seinfeld" and George Costanza's shrinkage problem. "I Love Lucy" made the summer road trip a sitcom staple.

From the sitcom family vacation ("Modern Family" and "The Brady Bunch" both headed to Hawaii) to the group of friends hanging out, sipping cocktails on the beach ("Sex and the City"), these are our favorite quintessential summer TV episodes to celebrate Memorial Day Weekend.

Tell us: What are your favorite episodes celebrating summer?

Her mother lives!

Eric Bolling, filling in for Neil Cavuto, wasn't the problem: he was setting up his guests unflappably. The guests, however, couldn't be heard. They could hear Bolling just fine, and their mouths opened enthusiastically -- but nothing came out.

It seemed that there was a glitch with the network's remote audio feed, and at least three separate guests launched into their talking points, only for silence to emerge.

After this happened twice in a row, Bolling cut to a commercial. When he came back from break, things seemed to be better, only for another guest to cut out completely, his satellite feed gone.

As the venerable Inside Cable News blog would say, it was a prime example of "The Hazards Of Live TV."

Watch the first fail above, and the second below.

Memorial Day began after the U.S. Civil War to honor the fallen soldiers. The last Monday of every May has been observed ever since to remember the men and women who gave their lives to protect our freedoms. I myself give great thanks to these amazing people who have made the ultimate sacrifice, and I would include in my gratitude the working dogs of the military.

Since ancient Egypt, dogs have been used during times of war and for other military uses. In World War I, they were used to deliver messages between units behind the lines. One of these dogs, Sergeant Stubby, became the first dog to be given a military rank, and received a national medal for his service. Dogs became used more and more in conflicts. Over 5,000 dogs served in Vietnam alone. They had a large presence in the wars in Iraq and Afghanistan; and Cairo, a Belgian Malinois, joined Navy SEAL Team Six in the attack which killed Osama bin Laden.

Dogs have been able to provide valuable services to the military. With their powerful noses and compact sizes, they are able to accomplish things humans cannot. Their keen hearing makes them excellent sentries. Our men and women in uniform can sleep soundly knowing that their canine comrades will alert them if danger approaches.

Dogs are able to use the same skills they use at home as police dogs. They are able to track scents, detect bombs, and find bodies. They also can be used as scouts, going ahead of the humans in their unit to look for enemy combatants, explosive devices, or other dangers that might wait for them.

Dogs have become such important parts of the unit, that army psychologists say that when the unit loses a canine member, the grief in the rest of the unit can be as great as when a human member is lost. Dogs and their handlers become so bonded, that often upon discharge they live out their civilian lives together. Other soldier dogs transition to military hospitals upon retirement where they can serve as helpers or companions to the injured.

Many people might pity the dogs, who obviously don't have much choice in the matter. They don't join ROTC or go to a recruiting office. However, I've always believed that dogs who have a purpose thrive. Whether it's herding sheep, leading the blind, or aiding the police, these dogs live fulfilling lives. Dogs have always bonded with humans and the bond that is formed in wartime is very powerful for the dogs and the humans.

This is not to say that these dogs don't face the same issues that their human counterparts face. Many dogs have to deal with the constant stress of being in the field and the workload can burn many of them out. Dogs also experience post-traumatic stress disorder (PTSD), which has only recently been studied and treated and they often face great obstacles adjusting to a civilian life.

I was honored recently to be asked by the U.S. military to help out an Alaskan National Guard K-9 Unit that was being used to sniff out bombs on the supply route between Afghanistan and Pakistan. Unfortunately that trip had to be canceled due to security concerns, but I hope to have the opportunity to work with military dogs again in the near future.

These dogs have saved countless human lives, sometimes at the expense of their own. They are often the line in front of the front line. And often, they are the first casualties. For every hero like Sergeant Stubby or Cairo, there are thousands of dogs whose names we've forgotten, or never knew, who have given their lives so their human comrades could live.

I hope everyone has a wonderful Memorial Day weekend. It's a great time to be outdoors with your family and your dogs and enjoy the blessings our country has been given. I hope you all take a moment to remember the brave women and men who have given us this gift. And when you play fetch or throw a Frisbee with your dog, I hope you remember all the dogs that gave their lives so that you can.

Stay calm and assertive,

Cesar

For help with your dog, visit CesarsWay.com

Follow Cesar Millan on Facebook

"This week's theme is individuality," Woodlee says in the clip above. "So the real challenge is to be able to work as a group, yet still be able to hold their own as individual characters."

While the contestants don't exactly get the dance down, their efforts are certainly fun to watch.

From a 19-year-old parrot salesman to a performer from Florida who identifies as transgender, the "The Glee Project" Season 2 is sure to bring a diverse group of contestants.

Season 2 of "The Glee Project" kicks off on Tuesday, June 5 at 10 p.m. ET on Oxygen.

The miniseries, from Greg Berlanti and Laurence Mark, tells the story of "a former first family explores the nuanced and complex world of politics and exposes what is behind the polished facade of public life," according to USA.

Carla Gugino, Ellen Burstyn, Ciaran Hinds, James Wolk, Sebastian Stan and Brittany Ishibashi round out the presidential cast of "Political Animals."

Check out the full cast photo below and promo up top.

For more on "Political Animals," be sure to check out USA Network's official site. Tune into the premiere on Sun., July 15, 10 p.m. ET.

We caught up with Emily to talk about all of them, and she seems confident that she's getting to know them all, whether she thought she wanted to after those ridiculous arrivals or not. But there are a few obvious issues.

There's Ryan and his penchant for inappropriately long letters: "I didn't know what to do when Ryan handed me the seven-page letter," Maynard admits. "It was a really awkward situation, and if I could go back and re-do it, I would absolutely say thank you to Ryan, and tell him that I would read it later, but in the moment, I didn't know what to do."

And then there's the house villain, Kalon, whose story she's been watching play out on TV: "Watching how the house has teamed together and gone against Kalon ... I didn't know it was that intense whenever I wasn't around, but I'm not really shocked by it."

Emily also dished about the whole experience, getting good advice from her friends (whether she takes it or not) and why this week's episode is one of her favorites.

Watch our interview above for all of it, then tell us: Do you think there are any suitable suitors in the bunch?

"The Bachelorette" airs Mondays at 8 p.m. ET on ABC.

SOAPnet's "A 'Veronica Mars' Marathon: Who's Your Daddy?" will air Sun., June 17, 3-7 p.m. ET and feature episodes that deal with one of Season 1's best plots: Who is Veronica Mars' biological father?

The episodes included are:

"Like a Virgin" -- Veronica gets more information than she's looking for when she visits Lilly's killer in jail and he tells her that Keith isn't her biological father.

"Drinking the Kool-Aid" -- Veronica tricks Keith into unknowingly taking a paternity test; Keith proves to Veronica that he's her father in all the ways that truly count.

"Hot Dogs" -- Keith secretly gets samples and runs a DNA test on Veronica.

"Leave it to Beaver" -- Keith gets the results of the DNA test back and tells Veronica who her father really is. Meanwhile, when a desperate Aaron attacks Veronica, Keith will do anything to save her.

"Veronica Mars" joined SOAPnet's lineup in April and now airs Monday-Friday at 5 p.m. and 6 p.m.; Saturdays from 1-4 p.m.; and Sundays 10 a.m.-1 p.m.

And for fans hoping to get a dose of new "Veronica Mars" with a film, the parties involved are right there with you. Series star Kristen Bell told The Huffington Post she's game.

"I don't know if it will ever come to be, but it's not off the table for me," Bell said in later 2011. "I would make time for it in a heartbeat and that's a decent part of it done, when you've cast Veronica Mars. I know [creator] Rob Thomas has it in his heart to make it; this is his baby. It's not off the table for any of us. We're just still trying to champion the powers that be to believe us. The reality is, we need a few million dollars to do it and that's a lot of money. It's difficult to convince a studio to take that risk when you're proposing to them to make a movie of a television show that's been off the air for four years."

Here's what you should do on Memorial Day weekend: Weather permitting, go outside. Party. Have fun with your friends and family.

But if you are stuck inside and in desperate need of "entertainment" that will make you laugh until you throw up, there's "Hemingway and Gellhorn" (9 p.m. ET on Monday, May 28 on HBO), which stars Clive Owen and Nicole Kidman. Now that the first season of "Smash" has ended, this is the best hate-watching fodder we'll probably have for many months.

Why is hate-watching the only realistic option? Because loving or even liking this expensive misfire is simply not possible. Even more than last year's turgid "Mildred Pierce," "Hemingway and Gellhorn" is a gigantic missed opportunity, a jaw-droppingly trying waste of time. Don't let the fancy names in the cast fool you: This is a stupid, stupid movie.

We don't hate-watch Syfy's Saturday movie offerings -- "Sharktopus," "Mansquito" and the like -- because they know they're trash and they good-naturedly embrace their energetic lack of quality. Not only is "Hemingway and Gellhorn" wretched, it is bathed in pretentiousness and pseudo-intellectual delusions of grandeur. It's not just crap, it's expensive, painfully "artistic" crap starring a lot of actors who should have known better once they took a look at the script, which is hilariously awful.

But it's the HBO way, especially when it comes to the network's movies and miniseries, to throw a lot of famous names and big checks at bloated projects that appear to have an aura of prestige and awards-season potential about them. It's an approach that has recently reached the point of diminishing returns, and you have to wonder if, in the case of "Hemingway and Gellhorn," if the network has realized its mistake (hence the decision to dump this turkey on a holiday weekend).

So you can take what follows as my attempt to get you to not waste two and a half hours of your life on this -- I watched so you didn't have to. Alternatively, what follows can be the jumping-off point for your own hate-watching experience, because, Lord knows, "Hemingway and Gellhorn's" sins aren't limited to the following:

1. There's no tension. If you know much about literature, chances are you know Gellhorn, a noted author and reporter in her own right, was one of Hemingway's wives. If you know anything about history, you know how the Spanish Civil War went; same goes for World War 2. If this were a good film, none of that would matter; the director (Philip Kaufman) and writers (Jerry Stahl and Barbara Turner) would still be able to find interesting ways to inject dynamic energy into Hemingway and Gellhorn's competitive and combustible relationship and would be able to tell complex stories about war coverage and the price paid by those chronicling the horrors of their age. But everything about this film is formulaic, predictable and flat. Hemingway's previous wife, Pauline (Molly Parker), is a typical shrew, stagy scenes unfold exactly as you think they will, relationships are sketched out in clumsy ways and the whole affair usually displays a strange lack of energy, despite the titanic personalities it's allegedly depicting. Apart from a few scenes toward the end that display a little spark, the whole thing is generally self-conscious, didactic and self-indulgent, and you end up with little sense of what these people were really like.
2. The dialogue is seriously hilarious, or mind-numbingly terrible, depending on how inebriated you are when you watch it. As I watched the film, I spent a lot of time writing down leaden sentences, but then I had to stop when my hand got a cramp from overuse. Here are a few gems: Orson Welles, storming out of a gig narrating a film about the Spanish Civil War: "The son also drinks a little too much!" Hemingway's editor: "Every time I think he can't get any better, he does!" Hemingway to Gellhorn: "I swear, by Christ, you're more of a man than most men I've met." Also, "Gellhorn, you inspire the hell out of me!" And finally, "There's nothing to writing, Gellhorn. All you do is sit down at your typewriter and bleed." From a journalist in a Spanish bar: "There are atrocities on both sides. The important thing is to report with objectivity." Gellhorn: "Objectivity! Fuck all your objectivity shit!" You get the idea. It's ironic that a movie about two writers is such a hacky, lazy, unsubtle mess, but I'm sorry to say that's the case.
3. For a long time, it makes Martha Gellhorn seem kind of aimless. Gellhorn was an dynamic, independent and unusual woman who reported on a number of global conflicts, wrote novels, magazine pieces and non-fiction books and had a string of fascinating lovers. But for much of the film, thanks to the clunky writing and Nicole Kidman's diffident performance, Gellhorn comes off as a faintly passive observer. The first half of "H&G" covers the couple's early acquaintance and their adventures during the Spanish Civil War, so for the first hour and a half, Gellhorn mostly hovers around the margins, watching Papa in action, wearing red lipstick and, at one point, providing sound effects for a film on the Spanish Civil War. Gellhorn's a little more dynamic in the last third of the film, but on the whole, the reserved Kidman seems miscast.
4. Lars Ulrich of Metallica plays a film director. He wears a beret. Normally, a bit of random casting like that would be fun in a good movie. Here it just induces more head-scratching in a film overstuffed with far too much of it.
5. The movie inexplicably fails to capitalize on Clive Owen's magnetic qualities. Somehow, "H&G" manages to de-hottify one of the film world's finest (and most attractive) actors. The dowdy period glasses and clothes the actor wears, not to mention the cartoonish, pugnacious version of Papa he plays in the film, ultimately make watching Clive Owen a chore, which is a crime. There's little or no intelligent exploration of what made Hemingway tick, and Owen's Papa ends up seeming like an overbearing, petulant child prone to excessive drinking and even more extravagant tantrums (insert your own Ham-ingway pun here). When Hemingway turns on Gellhorn in the final section of the film, little nuanced groundwork has been laid and he comes off as a bully lacking complexity, not a difficult, but charismatic man lashing out from a place of insecurity and instability.
6. It wastes a star-studded supporting cast. David Strathairn plays John Dos Passos; Santiago Cabrera plays Robert Capa; Robert Duvall has a small, hammy role as a Russian military officer; Tony Shalhoub plays a shadowy Russian operative; Parker Posey turns up as the next Hemingway spouse late in the film, etc. Too bad all the supporting characters, big and small, are one-dimensional and uninteresting. They look, feel and sound like Wikipedia entries come to life (and some are even less nuanced than that).
7. It does something so jaw-dropping that I can't even believe I saw it. I'd given up on the film about halfway through, but then Salon critic Willa Paskin tweeted about a scene toward the end of the film that almost has to be seen to be believed (spoiler alert). At one point, Kidman's face is superimposed over real footage of the stacked bodies of concentration camp victims, as Gellhorn recalls her time at Auschwitz and Dachau. It's a shockingly maudlin, melodramatic moment, one that would be deeply questionable in the best of films. Sadly, this ill-conceived moment emblematic of "Hemingway and Gellhorn's" self-indulgent view of itself as Important Art.

Seriously. Go outside. Forget you even read this.

It's comforting to see an upward trend across the board but the drastic differences between the networks highlight the bias that still exists today. Also, it's important to note that these numbers are for overall women writers, which includes women writing alone, on a writing team with another women, or a man. When we look at pilots written solely by women, the numbers get even smaller. This begs the question of why there seems to be a glass ceiling for women and whether it will disappear in the upcoming years. In Deadline's 2010 article "Women Can't Create, White Men Can't Jump" Neely Swanson shared a comment from a former showrunner who said, "Here's the reality. If you have seven writing slots, there will be roughly 400 writers to read. Of those 400, only 50 will be women." Swanson argued against that numbers in previous years, while low, weren't so low as to support this theory.

The 2011 increase in women writers' pilots being picked up was emphasized by an influx of what I'll call lady-centric comedies (Whitney, Are You There, Chelsea?, New Girl, Up All Night). The network touted their female creators and many of these shows achieve critical success and solid ratings. The popularity of the genre mirroring the success of women pilot writers suggests this may have been a case of more women stepping up during pilot season or a genre carrying female writers. However, this year's relative stability in the number of pilots by women picked up proves that women writers are carving a place out for themselves.

In Swanson's article 'How Did Women Pilot Writers Fare For 2012?' she talks about making an effort to be "gender blind." With the CW steady at 50 percent and NBC increasing 23 percent in the past three years, this goal seems achievable. On the whole these statistics point in the direction of a less biased future -- especially considering that this year women wrote around 45 percent of comedy pilots. Of course not every pilot written by a woman will be picked up (RIP Susan 313), but women are garnering more attention for their work in television and their presence will only continue to grow in upcoming years.

Chelsea Marotta recently graduated from the College of William and Mary. She is a writer, comedian, and a daytime bartender. In her spare time she runs this webcomic.

"Everyone knows that Phil loves a good sex scene, and I have to be honest, he talked about nothing else for quite some time before we started filming. We kept having to tell him, 'Phil, there's a lot of other scenes before that scene,'" Owen quipped.

"It's true, we did. I said, 'Phil's obsessed with that scene,'" Kidman chimed in.

Kidman echoed similar sex scene sentiments in an interview with W Magazine. "The sexual attraction between them was powerful. I kept asking Phil Kaufman, the director, “Is all this sex ­important for the story?” I wanted to make sure he wasn't just getting off. But these were two people who could make love when a building was falling down around them. They had passion."

"Hemingway & Gellhorn" premieres Monday, May 28 at 9 p.m. ET on HBO.

TV Replay scours the vast television landscape to find the most interesting, amusing, and, on a good day, amazing moments, and delivers them right to your browser.

The show follows Keira Cameron (Rachel Nichols, "Criminal Minds"), an officer with the Vancouver City Protective Services (CPS). We first meet Keira in 2077, when she's a regular "protector," wife and mother going about her business. When she's placed on guard duty during a mass execution of seven terrorists, she's jolted 65 years into the past when the prisoners deploy a high-tech, time-travel escape. She's disoriented -- to say the least -- when she finds herself in the year 2012.

"To have a big idea that was produce-able, I had to set it in the present," explains Simon Barry ("The Art of War"), the show's creator and executive producer, from behind a remarkably tidy detective's desk on the set. That doesn't mean we don't get to see any more of 2077. We steal plenty of glimpses of the future through Keira's memories, which she's able to download and replay at will. (Future cops don't need to carry notepads in this incredibly plugged-in culture!)

When Keira realizes she may not be able to get back to the future, she devotes all of her energy to hunting down the terrorists who trapped her in the past, including Travis Verta (Roger Cross, "24"). She impersonates a cop, infiltrates the local police department, and gets partnered up with hunky Carlos Fonnegra (Victor Webster, "Mutant X," "Castle").

Keira does wind up with one unlikely confidante in 2012: Alec Sadler (Erik Knudsen, "Scott Pilgrim"), a teenager who created the software she uses to communicate almost telepathically with. (In 2077, Alec is kind of a big deal. Like, Bill Gates or Steve Jobs big.)

A little bit lost? Don't worry. We've compiled a list of the top 12 things you need to know about "Continuum," with a little help from Nichols, Webster, Cross and Barry.

1. In 2077, corporations rule the world instead of governments. Keira thinks this is a good thing, while the terrorists disagree. "We [the terrorist characters] believe the corporations are wrong," says Cross. Adds Barry: "We didn't create a world that's black and white."

2. The escaped terrorists may not be entirely bad guys, depending on who you ask. "[My character] is called a terrorist because he might do a bad thing like kill a few people or blow things up," says Cross, laughing. "I've had to do some nasty things." It's all in the name of preserving democracy, though, so he says you just may wind up rooting for him and his gang.

3. You won't see any flying cars in the 2077 scenes. In fact, you'll hardly see any cars at all, thanks to a fuel shortage.

4. Water is scarce in 2077, too, so running water is almost unheard of. (Which is why Keira is so fascinated by the otherwise unremarkable facet in her drab 2012 hotel room).

5. Alec can "get inside" Keira's head anytime, thanks to the software he created that she has come to depend on in 2077. This can be both helpful and annoying, like when she's trying to get undressed at the end of the day.

6. Keira's special suit is equipped with a HUD, or Head's Up Device, that lets her scan stuff and see through people's eyes (it also allows Alec to see through her eyes). In later episodes, the suit starts to fall apart. "Rachel would like the [very tight] suit to go away, but Keira wants it back!" says Nichols, laughing.

7. Keira is exposed to plenty of things she's never seen before in 2012, like pizza, fresh fruit and even horses. "There's a lot of fish-out-of-water stuff," says Nichols.

8. Carlos knows something is a bit off about Keira, but he doesn't know what. (After all, it wouldn't exactly occur to most people that someone has time-traveled from the future.) "We're still tippy-toeing around a few issues," says Webster. "Carlos is perplexed at times and he's not afraid to show it."

9. Aside from the skin-tight suit, don't expect to see Nichols prancing around in sexy little numbers. "Victor gets to do all the fun eye candy stuff [like a shower scene] and I get to kill people!" says Nichols.

10. Some of the escaped terrorists, like Cross, are genetically enhanced because they formerly served as "super soldiers" for the ruling corporations. "We can kick anyone's butt," says Cross.

11. You can expect to see a lot of intense action sequences on the show. "Our fight scenes are dirty and gritty and real," says Webster. Nichols agrees. "Kimani Ray Smith is our stunt coordinator, and he's fantastic. He can speak stunt-speak to humans and we understand," she says.

12. Cross and Webster disagree about whose character would win in a fight, if such a scene ever came to fruition. "I'm a super soldier. I could pick him up by the neck and snap it!" says Cross. Webster begs to differ. "I would out-smart him!" he says, laughing.

"Continuum" premieres on Showcase on Sunday, May 27 at 9 p.m. ET/ PT.

He was 85 at the time of his death.

According to People magazine, Rich attended Ohio University and then started out at the Benton & Bowles advertising agency, where he sold sitcoms like "The Dick Van Dyke Show" and "The Danny Thomas Show." Benton & Bowles and the rest of the New York ad agencies on Madison Avenue controlled much of TV at the time, so Rich largely served as an additional producer on shows. He left the agency as senior vice president in 1965 to form his own production company, Mirisch-Rich Productions.

Rich eventually formed Lorimar Productions and served as executive producer of the company's successful series like "The Waltons," "Eight Is Enough," "Dallas" and its spinoff "Knots Landing." In 1980, he told People magazine, "I know exactly what 'Dallas' is. It's crap. But we do it as well as possible, and people are entertained by vicarious thrills."

And his legacy with the show will live on because "Dallas" is soon to be relaunched on TNT (it premieres Wed., June 13 at 9 p.m. ET) with some of the original cast, including Larry Hagman and Patrick Duffy.

Rich also executive-produced many TV movies, including Sally Field's Emmy-winning "Sybil." Rich was the head of Lorimar until 1986, but left to join MGM/UA Communications as chairman/CEO. He resigned in 1988 to return to independent production.

For more on Lee Rich's passing, click over to Deadline.

To remember more recently passed celebrities, click through the slideshow below: